Jane Dorner
Jane Dorner


Portfolio pictures of architectural glass



Bath screen. Private house new build. 2013.


The rainbow room at Birmingham Children’s Hospital with the 'Heart-throb' installation in memoriam children who die in hospitals. 2012.


Final version of the commissioned piece for the Royal National Orthopaedic Hospital in Bolsover Street, London, opened by Prince Andrew. Shortlisted for the 2010 Best Use of Visual Art in Hospitals Award.

Read the statement about the piece.

Materials: pāte de verre captured within hot glass and brushed steel frame made by Matthew Lane Sanderson

Dimensions: 4.8 m X 2.3 m.

Design sketch for the reception area at the new outpatients department at the Royal National Orthopaedic Hospital.

Commended design for the Stevens Competition for Architectural Glass, 2008. This was for the Maternity department of the new Elizabeth Garrett Anderson Hospital.

Materials: pāte de verre captured within hot glass

Dimensions: 150 cm X 100 cm.


© RexFeatures

Cryptical is an installation, made for the Glass Echoes exhibition in the Crypt Gallery, St Pancras Church. 2007. The title has several resonances: it means ‘of the crypt’; it means ‘hidden or secret’; and it means ‘enigmatic’ – all of which describe my piece. This derives from the unseen fragility of the construction of my own body: the brittleness of my bones and a spinal injury with an inscrutable medical name.

Materials: pāte de verre with dichroic elements

Dimensions: 80 cm X 84 cm approx.

Ampersand River is a mobile triptych for CLA’s reception area and it expresses the agency’s role in enabling the spread of creativity and learning. The piece is a river of glass, made up of roundels and lenses meandering across three frames (representing the authors, illustrators and publishers on whose behalf CLA acts). Its outline is that of the River Fleet which runs parallel to the piece some yards away beneath the building.

Materials: optical lenses and kiln-formed pieces; mixed techniques (silver stain, engraving, sandblasting, enamelling, fusing and mirror silvering); oak frames

Dimensions: 2.5 x 1.15 metres



This is entitled ‘Comma Separated Values’ and shows an outsize punctuation mark made of layers of optical lenses.

Removed from context, it could be a comma, an apostrophe or a quotation mark. This ambiguity is reflective of the way in which language, meaning and vision alter according to perspective. In all performance, point of view determines our interpretation of what we see and hear.

A storyteller accompanies this piece and draws out the themes of ways of seeing by demonstrating myths and fairytales with alternative endings or ambiguous interpretations.

300+ opththalmic lenses fused at 720°C with some additional clear lenses affixed. Wooden frame oil-gilded with aluminium leaf. 910 mm high x 730 mm wide, with base.

This piece is based around the circle as a metaphor for the cycle of life. It celebrates exuberance and asymmetry of pattern within a constraining circular form. The patterns are drawn from primitive motifs from all parts of the world as well as from photomicrographs of living organisms. Within this arrangement is the human form; at times precariously wedged, at others in harmony with the rest. They are bound by patterns that have existed before they were born.

Lenses decorated with degussa enamels, lustres, engraving, inclusions and metallising, with additional ruby glass roundels from MRJ Furnaces. Frame made of maple. 650 mm x 980 mm.